VERONICA POLLINI - Italy

CONTACTS: veronica.pollini@gmail.com

Website www.mosaicoarredo.com

Ottava - mosaic on wooden support

The Other Moon - lunar dream (love knot)

Venetian enamels, spectrum glass, marble, granite, slate, pebbles, self-produced ceramic tiles

Venetian enamels, mirror, artistic glass, stones, self-produced ceramic tiles diameter 40 cm

Swan lake - mosaic on wooden support

Souls - sculpture - mosaic on wooden support

160 self-produced ceramic tiles, alabaster, marble, Venetian enamels, mirror glass. 120 x 75

Carrara marble, onyx, Venetian enamels, glass marbles, self-produced ceramic tiles, glass 32 x 56

The planet of butterflies - mosaic on wood

Starry night - mosaic on wooden support

Travertine, mirrored glass, black glass marble, aluminum diameter 45 cm

artistic glass - courtesy of Daikin Italia

Her Biography

Veronica Pollini (VeroMosaico)

Graduated in Marketing and Communication at IULM University of Milan, with a Master's thesis on the organization of cultural events, in 2010 she attended a mosaic course at S.I.S.A.M. (International School of Mosaic and Fresco Art Studies) in Ravenna.
Since then, she has been creating mosaics, including on furnishing accessories, preferring the direct technique on a final support.
Her research aims to make explicit the communicative power of the circle form, while at the same time experimenting with unusual combinations of materials of different natures: glass, enamels, ceramics (also self-produced), marbles, etc.

Critique

Critical text by Chiara Salanti

In its long history, the technique of mosaic has mainly played a decorative role, which has determined a close link, not only at a technical-executive level but also iconographically, with its field of application.
Widely used in Roman and Byzantine civilization and throughout the Middle Ages, mosaic has from time to time assumed celebratory functions in places of power, educational and devotional purposes in sacred buildings, and ornamental features in private homes, adapting according to the occasion in a figurative or geometric-ornamental language. In such applications, the decorative dimension and expressive vocation merged, allowing the artists’ creativity—bound to themes and subjects prescribed by patrons—to manifest itself in technical skill, chromatic sensitivity, and the visual translation of the culture and thought of their time. A continuous change in this decoration-expression relationship marks the entire history of mosaic art until, between the nineteenth and twentieth centuries, great interpreters of Modernism such as Gaudí and Klimt were able to redeem its merely decorative role by placing it at the center of their architectural and pictorial research, respectively.
Within these horizons, linked to the historical evolution of mosaic, moves the research of Veronica Pollini, known as VeroMosaico, trained at the International School of Mosaic and Fresco Art Studies in Ravenna.
Always fascinated by the chromatic and luminous potential offered by the combination of different materials—artistic glass, gold leaf, mirrors, stones—Veronica began her production by dedicating herself to furnishing accessories and objects. The experience gained in the field of decoration, understood as giving the object its own identity—an identity that reveals the hidden soul of the object but at the same time varies depending on the observer’s point of view—has led Veronica towards art in the proper sense, offering her the opportunity to deepen her expressive research in works capable of addressing themes related to personal experience. Thus were born the first marine figures, full of the vitality and irony of a Milanese artist who became a “sea dweller,” later culminating in Jellyfish in 2016, presented at the exhibition Pictor imaginarius in Nazzano (Rome). The same year saw The Planet of Butterflies, a transitional work between the first figurative production,
oriented towards naturalistic themes, and the current research that has identified the circle as a form with which to represent both abstract concepts and human and animal figures. In Souls circles of different sizes and with multiform and multicolored surfaces overlap and intersect to indicate the complexity of the soul and at the same time suggest a collision of souls, configuring themselves as a three-dimensional art form that dialogues in space. In No War the opposition to war is realized in the series of noisy dark circles of a tank whose gun barrel explodes into a colorful flower, while in Cancer Healing the yearning for life is doubled in the breast that evokes motherhood, and therefore life, and in the circle that represents it, itself a symbol of the circularity of existence. If Souls borders on the realm of sculpture, No War and Cancer Healing for their frontal reading can be conceived as paintings. The mosaic in each of these cases becomes one with the support, elevating itself to a form of art in a broad and transversal sense, as already happened in the previous Mosaitril of 2016, an ironic mosaic ready-made, Veronica’s personal homage to Pop Art.
What unites the most recent works, in addition to the release from purely decorative needs, is the use of the circular form, chosen by the artist for its symbolic values. A figure consisting of a single line whose ends join together, the circle is therefore an emblem of what has neither end nor beginning and consequently of eternity. Likewise, due to the lack of parts in opposition to each other such as top and bottom, it represents perfection and harmony. These values, already known to ancient civilizations, gave rise to the so-called magic circles, rituals used in ceremonial magic, practiced especially between the Middle Ages and the Renaissance, in which a circle was drawn on the ground as a form of protection, to keep out negative and evil energies. Reconnecting to the archetypal role of the circle, Veronica coins a true artistic category, which she likes to define as “circular mosaics,” where the form itself rises, for the values it carries, to an expressive tool, becoming a module reproducible in potentially infinite numbers and sizes. The form then finds its completion in the material on which, in recent times, Veronica personally intervenes by producing some ceramic tiles, through modeling and coloring the material. This intervention, dictated by Veronica’s desire to leave an even more marked sign of artistic research in her works, represents the further stage of a process of maturation that has been able to combine decoration and expression, arriving at the affirmation of matter and form themselves as a poetic manifestation of the artist.

Curriculum
Exhibitions and competitions

2019 Group Exhibition "Musiwa Week 2019" – Palazzo Medici Riccardi, Florence (FI)

2018 Competition and group exhibition “Pictor Imagnarius” – Museo del Fiume, Nazzano (Rome)
2018 "Vernice Art Fair" - Passepartout Art Gallery - Forlì (FC)
2018 Group Exhibition "Musiwa 18" – Palazzo Medici Riccardi, Florence (FI)
2017 Group exhibition "Torano notte e giorno", Carrara (MS)
2017 Participation in the creation of the collective ceramic mosaic on biodiversity, Nazzano (Rome)
2017 Competition and group exhibition “Pictor Imagnarius” – Museo del Fiume, Nazzano (Rome)
2017 Group Exhibition "Musiwa 17" – Palazzo Medici Riccardi, Florence (FI)
2017 Group exhibition "Pop Art Tribute" – Icona Art Room, La Spezia (SP)
2016 Competition and group exhibition “Pictor Imagnarius” – Museo del Fiume, Nazzano (Rome)
2016 Group exhibition “Non si può fare Dripping” – Spazio Monte Amiata, Milan (MI)
2016 Solo exhibition at “Locanda Ameglia Alta” – Ameglia (SP)
2015 Solo exhibition “Tessere o non essere” at “La Fabbrica” Santo Stefano Magra (SP)
2015 Live painting at the event “Arte nel Borgo” – Corrodano (SP)
2015 “Minimalist group exhibition” – Sarzana (SP)
2015 “Carrara giorni d’arte” – Marina di Carrara (MS)

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